Papertrail’s production, A Visit is about crime, justice and childcare and who takes care of the kids when a mum gets sent to prison.
I worked closely with the show’s writer, Sian Owen , designer Lucy Hall and director Bridget Keehan to create the visual identity of the show for marketing materials that helped to inform the video design and captioning in the production along aside technical director and lighting designer Andrew Pike.
The show has been well received by audiences and critics as “A hard hitting, relevant piece for our time, excellently delivered by a talented cast and production team.”
Part modern fairy-tale, part sales pitch for a new crypto utopia, this Newport-grown story explores themes of grief, hope, and the true price of the dreams that we are sold. The play features songs composed by Dyfan Jones with lyrics from Catherine Dyson, heavily inspired by 80s, early 90s style electro music.
I created ‘in-game’ graphics, drawing on nostalgia and a mix of 16-bit and early polygon era video games for the aestheic of the video elements in the show.
Directed by Hannah McPake Designed by Ashley Phillps and Mari Hullett lighting design byJoe Price projection/Image design by Nic Finch. Photography Kirsten McTernan
I’ve been a long-time collaborator with Teddy Hunter, developing video elements for live shows. We performed a full band showat FullDomeUK 2024, an immersive dome showcase and translated our live set specifically for a dome environment, setting up audio-reactive elements, and mixing live to the band’s performance.
Taken from the Wydlerness album Big Plans for a Blue World, Wetlook is inspired by 1980’s new wave energy with a Venice Beach colourpalette. Duran Duran meets Memphis design. Created using video synthesizer software, mixed live.
Taken from the Wydlerness album Big Plans for a Blue World, Wetlook is inspired by 1980’s new wave energy with a Venice Beach colourpalette. Duran Duran meets Memphis design. Created using video synthesizer software, mixed live.
Circle of Fifths by Gavin Porter with National Theatre Wales
Video Design
Circle of Fifths explores the connection between grief, loss, music and celebrates the tradition of Butetown funerals. I worked closely with the director editing and designing the video elements and how they worked and were staged within the show.
National Theatre of Wales Director – Gavin Porter Set Designer – Jacob Hughes Lighting designer – Jane Lalljee
Songs from Across the Sueniverse by Daf James & Ben Lewis
Video Design
The critically acclaimed and much-loved Sue Timms returned for one last outing for a boundary-dissolving night of music, comedy, theatre, and spiritual communion.
I worked with Daf and Ben to design and edit creative-captions and video elements for the show.
Sherman Theatre Director – Daf James Lighting designer – Joe Price
I worked with J. Willgoose, Esq of Public Service Broadcasting to create a visual elements to his debut solo album, Late Night Final. Produced over 2020 using analogue instruments, he wanted to create videos for each track that felt as though they were crafted along aside the music. Using Video synthesizer software and VJ performance tools, I created the videos by building live mixes of the video synthesizer output on top of each other to create an otherworldly depth and atmosphere.
Set amongst the brutalist architecture of Cwmbran, as an homage to the utopian visions of any new town built through 1960’s and 70’s Britain. Such places were a promise of the future, but through the 80’s and 90’s often became run down and depressed and their architecture dispararged. This video aims to recapture some of the understated beauty of the stark concrete buildings that characterised such development by presenting a space that is perhaps out-of-time without any clear purpose – both at odds with nature whilst being part of the social landscape.
And there’s a dog.
While there was no specific brief for the video, I wanted to make a film about the long-gone railway that used to take iron ore and coal from the village, and more specifically the river where I used to play as a young child but now has a bypass running across what was once much more wild (albeit bleak) landscape.
A special commission from Peak for the Green Man Festival 2016
Farm Hand the solo project of musician Mark Daman Thomas collaborated with artist Stefhan Caddick .
The pair created a new, site-specific live performance called Noctule, taking place underground in Eglwys Faen (Stone Church), a cave on the Llangattock Escarpment, three miles from the Green Man festival site. The piece responded to the unique acoustics, history and habitat of the cave system – one of the biggest in Europe and home to a colony of Lesser Horseshoe bats.
Original footage provided courtesty BBC and OnPar
Additional footage and final edit by Nic Finch / chameleonic
Documentation and edit of Ebbwferric, a project about the steel industry by Stefhan Caddick
2016
EBBWFERRIC was a Free one-day mini-festival by artist Stefhan Caddick, which combined installation art, death metal, film, metalwork performance and the archives of Ebbw Vale Steelworks.
Taking place at the historic General Offices, the only remaining steelworks building in Ebbw Vale, EBBWFERRIC was a celebration of metal in all its manifestations – molten, heavy, historic, hot strip, electrolytic.
Commissioned by Cotton Wolf to create a visualisation of their remix of the Gulp song Vast Space. The video attempts to convey an open meditative place drawing on inspiration from native American shamanism, 80’s video games, a lo-bit aesthetic and Bauhaus sensibilities.
Promo video for Trwbador single ‘Breakthrough’ feat ESSA.
The band asked if the follow up video to their single ‘Breakthrough’ could follow the design of the 7 inch single cover, which seemed like an exciting challenge. The 7 inch sleeve uses images from a multitude of sources – 35mm, digital SLR, phone camera and digital harinezumi. I’d have to gather similar footage, but ideally all from one source, so I set out with my DSLR filming aspects of urban life, with special mention for small bursts of nature and macro details. I wanted to keep the footage quite raw, to make no apology for it’s ‘video’ quality (rather than over-grade and make it feel more like film). The shapes from the cover take the form of simple animated masks. Initially seeming like simple video wipes and transitions, somewhat reminiscent of a 1980’s daytime BBC2 school documentary, building up to a multi-layered collage at the songs’ finale.
Rather than focus the animation and movements on the songs’ beats and rhythm as I do for Trwbador’s live visuals, I wanted to take it in a more unexpected route and follow the underlying synth patterns, breaking the pace slightly for the chorus and breakdowns. Finally, I blended in animated loops of my niece’s scribbling endeavors, pulsating them according to the song volume.
